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对于重彩新时期中国重彩艺术语言

发布时间: 2012-7-9


预读: researching into the evolution of oriental and west deep color painting and the law of deep color paintings, the author thinks that the modern deep color painting is an improvement of color, not the continuation of traditional deep color. The deep color painting should be the creation that the arti对于重彩新时期中国重彩艺术语言
论文中文摘要:重彩是我国传统绘画的原发形态,开启了中国古典绘画的序幕,并在隋唐和宋代有辉煌的鼎盛时期,之后由于诸多理由,重彩在传统的主流文化圈中逐渐走入低谷。上世纪八、九十年代,重彩艺术在国内开始复兴,尤其近十来年实践领域的迅猛进展与整个时代的学术思想相关联,呈现出丰富多彩的内涵与外延,转变了画坛几百年来水墨画独领****的格局,但目前学界对现代重彩的论述探讨严重滞后。本论文的探讨是结合时代背景,对传统重彩艺术在新时期以来的复兴和进展情况进行初步梳理之后,着重对新时期重彩艺术进行浅析探讨。因绘画所探讨的对象是一种物质化的视觉图像,笔者以一个实践创作者的角度和绘画本体探讨的视角出发,以传统重彩为参照,通过对大量绘画作品的语言浅析和论证,探讨现代重彩艺术在当代进展语言体现的审美取向、风格特点以及现代重彩艺术语言的文化品格、图式形态在当代转型的价值观念和学术作用。现代重彩的多元体现构成了迥异于传统面貌的现代语言形态。因其在当代进展变革的致力点是色彩和材料技法,笔者试图在论述上对新时期重彩艺术语言的建构——改善色彩系统和建构技法材料系统进行探讨探讨。通过对东西方色彩追求和体现进展至今的演变历程以及规律的探讨,提出现代重彩对色彩的改善,不是传统重彩表面形式上的一种延续,而是当代重彩画家在民族色彩文化以及时代审美上的创造,是画家对传统色彩认知和体现的时代变革;这种改善,也不是在色彩体现语言上步西方绘画的后尘,其审美内涵应该蕴含中华民族文化精神,在进展中确立自己具有中国民族审美的色彩语言和身份边界,以更为科学同时又符合艺术规律的角度来全面建设改善中国现代重彩画的色彩体现系统。在建构材料技法系统方面,需要重彩画家深入浅析探讨传统绘画遗产,挖掘传统画材与体现技法的特点,充分发挥智慧,广采博收,不断探讨,以传统的“君子不器”走向注重材料制作和技艺的综合运用;同时还必须把握好矛盾的对立统一——即道与器的联系不足,做到重器而不轻道。另外现代重彩在当下的多元进展近况一方面推动了繁荣,但同时也模糊了重彩画的边界,造成了本体价值和品评标准的混乱和困惑。多元格局下现代重彩的本体价值和品评标准是什么?在世界经济逐渐一体化的今天,曾经有过辉煌的重彩在当下该如何保持中国文化品格健康进展?在本论文的最后章节,笔者以工具材料、形式技法、文化审美三个层面对上面陈述的不足进行了探讨,提出现代重彩在当代进展历程中应把握好材质美、笔彩以及革新性和民族性等联系,其进展应该深深积淀于民族精神之中,体现中华民族的文化精神内涵,重展重彩的庙堂之气和正大之气。

【English Abstract】 The painting in deep colors is the prototype of Chinese traditional painting, and is the prelude to the Chinese classical painting. During Sui-Tang and Song Dynasty, it was at the flouring period and then began to go downwards due to many reasons. In the 1980s, it becomes revival, unfolds the rich connotation and extension, especially with the development of practical filed and the close relationship between the practical filed and the academic thinking, which changes the layout that Chinese brush drawing has been in the leading position for several centuries. However, the research into the theory of modern deep color painting in the academic community has lagged behind at a large extent until now.Against the social background, this thesis pays attention to analyzing and researching into the artistic language of deep color painting, after reviewing the revival and development of Chinese traditional deep color art since the new era. The subject of drawing research is the materiapzed visual image, hence the writer, from the perspective of practical creator and the drawing research, will explore and research into the tasting tropism, the style features, the cultural character of the deep color art, and the modern transitional value and academic significance of pictorial image, referring to Chinese traditional deep color painting, through an extensive language analysis and research of drawings.The multiple representation of modern deep color painting has made up of modern language modapty, which is quite different from Chinese traditional ones. The development of deep color paining focuses on color and the techniques of materials. As a result, the author tries to theoretically construct the artistic language of deep color painting in new era, that is, to improve the color system and construct the system of technique materials. Through researching into the evolution of oriental and west deep color painting and the law of deep color paintings, the author thinks that the modern deep color painting is an improvement of color, not the continuation of traditional deep color. The deep color painting should be the creation that the artists of modern deep color painting present on the basis of traditional color culture, and the transformation that the artists keep on the basis of the cognition of the traditional color. This improvement does not follow the tradition of west paint

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